DEPARTMENT OF DRAMA AND SPEECH
COMMUNICATION
DRAMA 3/406 and 491
SECTION 001 – PERFORMANCE AND DIRECTION
SPRING | 2015
M-F 10-3
INSTRUCTOR INFORMATION
Instructor: Jennifer Roberts-Smith
Office: ML 119
Office Phone: 519-888-4567 x 35785
Email: jennifer.roberts-smith@uwaterloo.ca
Office Hours: W 3:30-5:30 (please book ahead)
STAFF INFORMATION
Gill Lesperance
Director of Technical Production
Office: ML 121
Office Phone: 519.888.4567 x.37085
Email: glesperance@uwaterloo.ca
Sharon E. Secord
Head of Wardrobe, Costume Designer
Office: HH 272
Office Phone: 519.888.4567 x.36122
Email: sesecord@uwaterloo.ca
Janelle Rainville
Theatre & Production Manager
Office: ML 122
Office Phone: 519.888.4767
Email: jrainville@uwaterloo.ca
VISITING ARTIST INFORMATION
Paul Hopkins
Acting Coach
Contact: jpaulhopkins@gmail.com
Daniel Levinson
Fight Director
Contact: daniel@rapierwit.com
Toby Malone
Dramaturg
Contact: tmalone@uwaterloo.ca
COURSE DESCRIPTION
In this course, students work with faculty, staff, and visiting artists to explore and develop intermediate (307) or
advanced (407) proficiency in performance. By the end of this course, students will be able to:
 articulate personal learning goals in relation to the goals of the production;
 analyze theatrical text and other elements relevant to the production for theatrical and performative meaning;
 develop and implement strategies for effective preparation for a role in rehearsal;
 perform a role consistently in the service of the production as a whole;
 collaborate effectively with instructors and other students in the service of the production as a whole;
 evaluate their work in relation to their personal learning goals using a shared critical vocabulary;
 evaluate the production in relation to its goals using a shared critical vocabulary.
DRAMA 3/407 | SPRING 2015 | SYLLABUS | PAGE 1 OF 6
PRODUCTION FOCUS
In our production of Henry the Sixth, Part One, our focus is on performance as a tool for research in early English
theatre studies. We will investigate five areas of Elizabethan performance practice in particular: acting company
structure, touring practices, performative language, direct audience address, stage combat. Each student will perform a
line of parts in Henry the Sixth, Part One as a “master”, “journeyman”, or “apprentice” actor, as cast by the instructor. By
the end of this course, students will be able to:
 collaborate with other students to implement the structure and working practices of an Elizabethan acting
company
 analyze the relationship between company structure and practices and the performances it generates

paraphrase the Elizabethan text of their own roles and other students’ roles in modern English

identify and distinguish between words that were “hard” and “easy” for Shakespeare’s audiences




manipulate the registers of Shakespeare’s language in performance to effect theatrical action
scan the Elizabethan text of their own roles for its verse structure
use the verse structure of the Elizabethan text to effect theatrical action in performance
communicate directly with a live audience through the vehicle of character in performance, improvising
responses to audience participation as opportunities arise
perform basic and intermediate stage combat exercises in lifts, hand-to-hand combat, and sword manipulation
perform complex combat choreography in performance to effect theatrical action


REQUIRED TEXTS AND RESOURCES
Production Text
Shakespeare, William. Henry the Sixth, Part One. Adapt. Toby Malone. Based on Internet Shakespeare Editions
transcription. Available for purchase in ML 119A .
Other Readings
Due Monday 11 May (for discussion):
Cockett, Peter. “Performance Research: Rehearsal Process”. Performing the Queen’s Men.
http://thequeensmen.mcmaster.ca/index.htm. (username: sqm; password: shakespeare.)
Cockett, Peter. “Performance Research: Doubling”. Performing the Queen’s Men.
http://thequeensmen.mcmaster.ca/index.htm. (username: sqm; password: shakespeare.)
For daily reference:
The Oxford English Dictionary. Available online through Porter Library.
See also Research Presentation Topics list for suggested sources.
Recommended Texts
Shakespeare, William. Henry the Sixth, Part One. Ed. Michael Taylor. Oxford, 2008. Available for purchase from
uWaterloo Bookstore.
Henry VI, Part 1 (Folio 1, 1623). Internet Shakespeare Editions. http://internetshakespeare.uvic.ca/Library/Texts/1H6/.
Recommended Performance
Shakespeare, William. Much Ado About Nothing. Dir. Richard Rose.
Sunday 10 May, 2:30pm
Tarragon Theatre, Toronto
Tickets: $25 (please bring exact change to Ceylan Turkeri in ML 119A)
DRAMA 3/407 | SPRING 2015 | SYLLABUS | PAGE 2 OF 6
COURSE REQUIREMENTS AND ASSESSMENT
Bring to every class:
 comfortable, non-restrictive clothing and soft-soled shoes;
 script and hand-outs provided by the instructor;
 a pencil, eraser, and journal or notebook;
 a laptop if you have one (for table work only)
 bottled water if desired (no other food or drink is permitted in class).
ASSESSMENTS
I.
DATE OF EVALUATION
WEIGHTING
PRACTICUM - GRADES ASSIGNED BY COMMITTEE
(SEE APPENDIX 4: PRODUCTION PRACTICUM RUBRIC)
A. PARTICIPATION & TEAMWORK
20%
B. PREPARATION AND REHEARSAL
20%
C. TECH, DRESS, PERFORMANCE, AND STRIKE
20%
COMMITTEE FEEDBACK
II.
MONTH DAY / MONTH DAY
INDIVIDUAL PROJECT PARTICIPATION Wed 13 May (first draft)
10 min (presentation)
PROPOSAL
5% (first draft)
5% (final draft)
= 10%
Wed 20 May (final draft)
1000 words
Tues 9 June
10 minutes (presentation)
Mon 15 June
1000 words
III.
RESEARCH ARTICLE &
PRESENTATION
Topic and sources determined in
consultation with instructor and based
on Individual Proposal
IV.
INDIVIDUAL PROJECT PARTICIPATION Monday 29 June
discussion
ANALYSIS AND REFLECTION
5% (first draft)
5% (final draft)
10%
10%
Friday 3 July
1000 words plus working script
V.
DISCUSSION AND SELF-EVALUATION
DISCUSSION AND SELF-EVALUATION RUBRICS
Mon 11 May (assigned readings)
Mon 9 June (self-evaluation)
Mon 29 June (self-evaluation)
10%
TOTAL
100%
SCHEDULE
Refer to the Daily Schedule and the Production Schedule for detailed schedule information.
DRAMA 3/407 | SPRING 2015 | SYLLABUS | PAGE 3 OF 6
NOTES ON ASSESSMENTS
PRACTICUM
A. PARTICIPATION & TEAMWORK 20% (throughout)
•
PARTICIPATION & TEAMWORK is understood as the contribution each student makes while (1) working
independently on the production as a performer; (2) working in a team environment during rehearsals and
performances; and (3) participating in other production-related activities such as costume fittings,
publicity events, specialized instruction sessions, tour travel, etc.
•
As a PERFORMER, each student will be responsible for both his or her own role(s) and also the production
as a whole.
•
Each production will demand a unique and changing set of requirements, which will be defined and
revised in collaboration with the supervisor, creative team, faculty and staff. Faculty and staff should be
regularly consulted as to the specific tasks and responsibilities pertaining to each role.
•
Students are required to attend all rehearsals in order to complete the course successfully. Punctuality is
essential.
B. PREPARATION AND REHEARSAL 20% (May 4-June 5)
•
The expectation is that students, building on knowledge gained from DRAMA 102, 221/2, 321/2, and/or
other productions, will be self-motivated to delve deeper into the specific skills required of a performer to
become an intermediate or advanced level contributor to an ensemble. Independent research is essential
and the application of such knowledge will inform how students handle complex tasks and solve problems
during the production process.
•
Daily assignments include: using OED to identify the historical senses of unfamiliar words; identifying
words hard for Shakespeare’s audience; paraphrasing into modern English; clarifying textual images by
communicating them to other students; participating in warm-exercises; developing proficiency in stage
combat; generating, building on, and repeating theatrical action words and gesture. Assigned readings are
due on Wednesday 13 May.
•
Rehearsals and other class meetings are forums for students to demonstrate their evolving knowledge
and skills.
C. TECH, DRESS, PERFORMANCE, AND STRIKE 20% (June 7-June 30)
 The expectation is that students, building on their preparation and rehearsal, will collaborate
professionally with other departments to prepare the production for presentation to an audience,
communicate it effectively in performance, and carry out any follow-up activities that are required to
restore production resources afterwards. Although consistency is an important skill at this stage of
production, the emphasis of this part of the course is not on presentation or repetition. Students are
expected to respond to notes from instructors and to continue to develop their roles and skills
independently.
 Daily assignments include: refining actor-centred technical elements including costumes and hand
props; generating, building on, and repeating technical tasks required to generate theatrical action on
stage.
 Technical rehearsals, dress rehearsals, performances, and strike activities are opportunities for
students to demonstrate their evolving knowledge and skills.
COMMITTEE FEEDBACK
The evaluation of performance is generated by a committee of the supervisors, staff, faculty, and visiting artists
with whom students have collaborated in the course. The Performance Practicum Rubric is used as the roadmap for generating the student’s practicum grades and feedback. This is the same rubric used for students’ SelfEvaluations. Feedback will be articulated in the form of a panel discussion with each student at the end of the
term. Students are required to prepare a short presentation for the committee, which must include the
following personal reflections, based on your mid-term and final self-evaluations: (1) strengths, (2)
weaknesses, and (3) areas of improvement.
DRAMA 3/407 | SPRING 2015 | SYLLABUS | PAGE 4 OF 6
II. INDIVIDUAL PROJECT PARTICIPATION PROPOSAL – 10% (Wed 13 May; Wed 20 May)
This written assignment has two parts: a supervisor memorandum and a preliminary production assessment. The
Preliminary Production Assessment should describe the student’s contribution to: (1) the production’s directorial
concept and goals, (2) how the director & creative team intend to stage the work and (3) the production’s
anticipated performance requirements, ambitions and challenges. This will be presented in class, revised on the
basis of feedback from the instructor, and submitted in written form (1000 words).
The Supervisor Memorandum is an attached document (See Appendix 2) formulated by the student in consultation
with their respective faculty or staff supervisor and should attempt to ascertain the special (1) objectives, (2)
research and tasks, and (3) mid-term objectives of the student (how the student and supervisor will know whether
the objectives are being met). The memorandum should not be an exhaustive list of duties, but rather a
personalized agenda for the production and term. This will be presented in class in draft form, revised on the basis
of feedback from the instructor, and submitted in written form.
III. RESEARCH ARTICLE & PRESENTATION – 10% (Tues 9 June; Mon 15 June)
Students are required to complete a five-minute research presentation and 1000-word research article (see blow
for topic suggestions). The aim of the exercise is three-fold: (1) to practice conducting credible research, (2) to
become familiar with important resources in the field, and (3) to expose students to current scholarship on
relevant issues. The presentation should be succinct and well supported by evidence. The final article should take
the form of an encyclopedia entry illustrated with diagrams or pictures as appropriate, and supported by a
bibliography. The article will be included in the production’s Dramaturgy Hub and will become a resource for the
future students.
IV. INDIVIDUAL ANALYSIS AND REFLECTION
POST-PRODUCTION ANALYSIS & WORKING SCRIPT (Monday 29 June; Friday 3 July)
The post-production reflection, 1000 words, requires the student to thoughtfully and critically reflect on the
completed production, and on their contribution as a performer. The aim of this reflection is for students to (1)
account for significant contributions to the production, (2) to demonstrate an analytical ability to self-critique
their process retrospectively and (3) to extrapolate from the self-analysis areas of improvement and future
learning.
The Working Script is a collated digitized PDF copy of all acting notes and paperwork directly created by the
performer. The aim is to demonstrate the extent students’ ongoing attention to knowledge and skill
development throughout the production process. Notes and paperwork might include the following: scansion
notes, vocabulary definitions, paraphrases, acting notes, blocking notes, character research, personal goals,
interpretations of performance choices, etc.
V. DISCUSSION AND SELF-EVALUATION (ongoing)
Section meetings and self-evaluation rubrics:
Separate from rehearsal and production obligations, students are expected to attend and participate in scheduled
class meetings. The objective of these meetings is to (1) provide a forum for students to check in and collectively
discuss their responsibilities and experiences, to (2) engage in the research work and discoveries of fellow
students, to (3) learn from and participate in the research articles and presentations, and to (4) engage in critical
discourse on selected topics and experiences.
DRAMA 3/407 | SPRING 2015 | SYLLABUS | PAGE 5 OF 6
Recommended performance:
The aim of attending and discussing critically a professional performance is to expose students to a scale and
quality of theatrical production beyond that which is achievable in the classroom or university level and gain
practice in discussing and critiquing such work. Professional aptitude in the area of theatrical performance requires:
an ability to creatively support the artistic goals of a project; a comprehensive knowledge of performance practices
and their applications on stage; and an ability to imagine the ways of these practices make meaning on stage. One
of the best ways of acquiring this comprehensive knowledge is through exposure to numerous and varied works.
COURSE CONDUCT AND UNIVERSITY POLICIES
LATE WORK
Late written work will be penalized 3% per day. Missed rehearsal or performance work cannot be substituted.
COURSE READINGS
Students will be expected to come to classes prepared with the assigned reading. Students are expected to read assigned material
thoughtfully and with reflection, and are encouraged to supplement areas of their own interest with independent reading and
research, with which they will be able to enrich their class contribution.
ELECTRONIC DEVICE POLICY
Due to the practical nature of this course and because collaboration and excellent verbal communication significantly underpin
technical production work in the theatre, students are encouraged not to use or display mobile or electronic devices while in-class or
while working technically in the theatre. The only exception to the above policy is in regard to students who, through arrangement
with the Office for Students with Disabilities, may use electronic devices as an academic accommodation related to their disability.
ATTENDANCE POLICY
A student’s attendance directly reflects upon her/his participation and professionalism and will, therefore, highly influence her/his
success in the course. Students will be accommodated up to 2 grace days with proper notification.
ACADEMIC INTEGRITY
In order to maintain a culture of academic integrity, members of the University of Waterloo community are expected to promote
honesty, trust, fairness, respect and responsibility.
See the UWaterloo Academic Integritity Webpage
(https://uwaterloo.ca/academic-integrity/) and the Arts Academic Integrity Office Webpage (http://arts.uwaterloo.ca/currentundergraduates/academic-responsibility) for more information.
DISCIPLINE
A student is expected to know what constitutes academic integrity to avoid committing academic offenses and to take responsibility
for his/her actions. A student who is unsure whether an action constitutes an offense, or who needs help in learning how to avoid
offenses (e.g., plagiarism, cheating) or about “rules” for group work/collaboration should seek guidance from the course professor,
academic advisor, or the undergraduate associate dean. For information on categories of offenses and types of penalties, students
should refer to Policy 71, Student Discipline (http://www.adm.uwaterloo.ca/infosec/Policies/policy71.htm). For typical penalties
check Guidelines for the Assessment of Penalties (http://www.adm.uwaterloo.ca/infosec/guidelines/penaltyguidelines.htm).
GRIEVANCES
A student who believes that a decision affecting some aspect of his/her university life has been unfair or unreasonable may have
grounds for initiating a grievance. Read Policy 70, Student Petitions and Grievances, Section 4
(https://uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-70). When in doubt please be certain to contact the
department’s administrative assistant who will provide further assistance.
APPEALS
A decision made or penalty imposed under Policy 70, Student Petitions and Grievances (other than a petition) or Policy 71, Student
Discipline may be appealed if there is a ground. A student who believes he/she has a ground for an appeal should refer to Policy 72,
Student Appeals (http://www.adm.uwaterloo.ca/infosec/Policies/policy72.htm).
Note for Students with Disabilities
The Office for Persons with Disabilities (OPD), located in Needles Hall, Room 1132, collaborates with all academic departments to
arrange appropriate accommodations for students with disabilities without compromising the academic integrity of the curriculum.
If you require academic accommodations to lessen the impact of your disability, please register with the OPD at the beginning of
each academic term.
DRAMA 3/407 | SPRING 2015 | SYLLABUS | PAGE 6 OF 6